Behringer JT-2 Analog Synthesizer

• single voice from the Roland Jupiter-8 (1981-1984)
• Subtractive synthesis with analog signal path
• monophonic / 2-part paraphonic
• 2 oscillators (VCOs) with hard sync
• VCO 1 waveforms: triangle, sawtooth, pulse, square
• VCO 2 waveforms: sine, sawtooth, pulse, noise
• Cross modulation (X-Mod)
• 12/24dB Lowpass Filter
• Highpass filter
• VCA with LFO mod
• VCO modulator
• 2 ADSR envelopes with tracking
• LFO with 4 waveforms & fade-in
• Arpeggiator with 1-4 octaves & 4 playback directions
• Control voltage inputs for gate, pitch, sync, filter
• Mono audio output
• Headphone output
• MIDI In & Thru
• USB MIDI
• PolyChain with multiple JT-2 units

The essence of the Jupiter-8

The JT-2 comes amazingly close to the 30 kg original from 1981. Two oscillators with the typical Roland sound form the basic structure of all Jupiter-8 sounds. Oscillator 1 can be switched in four foot positions and masters the waveforms triangle, sawtooth, pulse and square. The amount of cross-modulation can also be adjusted. The frequency of the second oscillator, which even extends into the LFO range, is freely adjustable, it can also be hardsynced and delivers sine, sawtooth, pulse or noise. The pitch can be modulated for one or both oscillators via LFO and/or envelope, the latter being ideal for classic sync sounds. Pulse width can be set manually or modulated via LFO or envelope - typical for old Roland synthesizers. After the mixer, both oscillators finally enter the distinctive 12/24dB lowpass filter with an upstream, resonance-free highpass filter. The filter packs a punch, lets a lot of low end through and lives up to its reputation. The envelope, LFO and Keytracking are permanently assigned to modulate the filter. The end of the signal path is marked by the VCA, which is modulated by envelope 2 and can be modulated by the LFO to create tremolo effects.

Modulation

The main part of the modulation is performed by two ADSR envelopes, which are permanently assigned to the filter and VCA. Keyfollow can be activated separately for each envelope. This parameter enables the modulation of Decay and release by means of pitch control; in short, high note positions lengthen the decay times and low ones shorten them. The LFO is identical to the original: speed, transient delay and the four waveforms sine, sawtooth, square and random are available here.